Samson owner manual R21 Frequency Chart

The R211 can be connected to any mixer, mixer/amplifier, or mic preamp using a standard microphone cable. As shown in the wiring diagrams below, connect the female XLR end directly to the R21’s gold-plated connector and the other end (normally a male XLR end, although some mixers use 1/4" connectors) to the mixer, mixer/amplifier, or mic preamp.

			Hot (2)			Hot (2)
			Common (1)			Common (1)
		Solder Points				Solder Points
1	2	2	1				1	2		2	1
	3		3					3			3
End View			Cold (3)		Female XLR	Cold (3)				End View
				Male XLR
			Tip (Hot)	Hot		Hot (2)
					Common (1)
Male Phone						Solder Points
						1	2		2	1
	Jack (TS)					3				3
									End View
					Female XLR	Cold (3)
				Common and Cold
			Sleeve (Common and Cold)
			Ring (Cold)	Cold		Hot (2)
				Hot	Common (1)
			Tip (Hot)
Male Phone						Solder Points
						1	2		2	1
Jack (TRS)
						3				3
					Female XLR	Cold (3)			End View
				Common
			Sleeve (Common)

The R21 can be mounted to any standard microphone stand (using the included mic clip) or can be handheld; due to its unique mic element shock mounting, it generates significantly less handling noise than most other microphones. If handheld, take care not to cover the any part of the head grille with your hand. Be aware of a phenomenon called the proximity effect which causes a noticeable increase in low frequencies (bass response) when a microphone is close to the audio source. This can have positive impact—for example, it will cause your voice to sound much fuller when you sing close to the mic than when you sing at a distance. The R21 is spe- cially designed to be used up close, since it provides a built-in windscreen for removal of pops, sibilance and onstage noise. The key to developing the best mic technique is experimentation, along with awareness of the general principle that, the closer your R21 is to a signal source, the greater the bass response.

dB

+10

0

-10

-20

20 50 100 200 500 1000 2000 5000 10000 20000

R21 Frequency Chart

Every microphone has a characteristic polar pattern that determines how well it accepts or rejects signal coming from various areas around the microphone. For example, omnidirectional mics accept all signals regardless of wherever those signals originate (in front of the mic, behind it, to the side, etc.).